Ryan Coogler's latest work may have breathed new life into the idea of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. One of the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, Marshall transformed the role into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw inspiration from Marshall, deepening his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and intellectually stimulating all at once, securing its position in the hall of fame by balancing all three while respecting the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a dash of humor with your scares this Halloween.
A Tale of Two Cities
Similar to the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to New York City. But rather than journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the survival of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York on a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a dark creature leap from the ship, dart into an alley, and transform into a human — reminiscent of the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music starts, establishing the tone for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his last installment in the Nightmare on Elm Street series, Craven was keen to move beyond his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). At the same time, Murphy wanted to subvert expectations by diving into a straight horror based on Dracula lore. The conflict of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But once the film hits its stride, it opens up to its assets — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the story. Among African American film's most praised actresses, Bassett delivers a commanding performance alongside her co-star, a familiar face from the era. Meanwhile, Murphy spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his skin decays during the movie is a standout moment of how the star's comedic style elevates the comedy and horror, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars finally share the screen, the film reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to take away all Rita has in her life and then intervene. He murders her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her beliefs.
As the story progresses, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This results in a third act filled with seduction, as mortality and damnation hang in the balance. The movie ends with a stinger suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon debut. As years passed, it gained popularity as a cult favorite, with reviewers later praising the filmmaker's work, the electric chemistry the leads, and its clever mix of horror and comedy. The film shows glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but influential film defined by its bold style and unforgettable performances.
